Sophia Loren at Tribeca Film Festival

FDTimes-SophiaLoren-IMG_7654Sophia Loren received a standing ovation at the Tribeca Film Festival screening tonight of the “Human Voice,” a short directed by Edoardo Ponti, with cinematography by Rodrigo Prieto, ASC, AMC. Ponti and Prieto met for the first time at Tribeca last year, so it was a fitting anniversary for both to be present this evening. It was a magnificent performance in a beautifully crafted, meticulously directed, gorgeously photographed film. During the Q&A, Edoardo was asked whether it was emotional directing his mother in a film she wanted to do all her life. “I cried seven or eight times a day,” he said.

More information on the production here.

Technical notes: Canon C500 cameras with Codex Onboard S Plus Recorders shooting in 2K 12-bit, with Canon zooms and Cooke primes.

Edoardo Ponti and Sophia Loren at Tribeca Film Festival for the "Human Voice."

Edoardo Ponti and Sophia Loren at Tribeca Film Festival for the “Human Voice.”


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Scorpiolens Anamorphic Video

ServiceVision presented a 7 minute 30 second video at NAB, “Walk in Barcelona.” Shot with their Scorpiolens 35, 75 and 100 mm 2x anamorphic lenses, with a hauntingly beautiful score by Jordi Solans and Narcis Coromines. Here it is on Vimeo.

More info at 


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Toshiba 4K laptop



Toshiba’s new 3840 x 2160 UHD SatelliteP55t goes on sale next week in the US.

  • 15.6-inch diagonal Ultra HD touchscreen display
  • native 3840 x 2160 resolution — 282 PPI (pixels per inch) display. (In comparison, my MacBook Pro 15″ Retina display is 288 x 1800 resolution at 220 ppi.)
  • Color management is licensed by Technicolor
  • Iincludes a full version of Adobe Photoshop Lightroom 5 .
  •  Intel i7 quad core processor
  • Up to 16GB of 1600MHz DDR3L memory
  • AMD Radeon R9 M265X graphics card with 2GB GDRR5 video memory.
  • 1TB hard drive
  • 4x USB 3.0 port
  • UHS-II SD card slot
  • 802.11ac Wi-Fi
  • HDMI port capable of 4K output
  • Optional built-in Blu-ray re-writable drive .
  • Stereo speakers by Harman KardonA
  • Available on April 22, 2014 direct from Toshiba at for $1,499.99 MSRP.

photo above is a composite of SatelliteP55t and image from RED NAB Fashion Runway.


Mark Forman’s NAB 2014

The following things attracted Mark Forman’s attention at NAB 2014.


Mark Forman doing anamorphic tests for Film and Digital Times with my Sony Alpha 7R at NAB 2014

New Sony Alpha 7S – 4K and 490,000 ISO


MOVI 5 This new stabilizer is for use with smaller and lighter cameras such as the Panasonic GH4 and the Sony Alpha 7S as well as DSLRs.

MOVI 5. This new stabilizer is for use with smaller and lighter cameras such as the Panasonic GH4 and the Sony Alpha 7S as well as DSLRs.


ARRI 9.5-18 mm UWZ Zoom. I like wide lenses and the ARRI 9.5-18 is rectilinear which is hard to do. Good for confined spaces, aerials, POVs, car shots.


Cooke 2X Anamorphic set


Phil Keoghan, host of “The Amazing Race,” talks about using the Sony F55 on his recent film “Le Ride,” retracing the route of the 1928 Tour de France with a vintage bicycle (no gears).

Sony F55 Doc Setup Sony has now addressed most markets with the F5/F55 and now has a product for documentary shooters who previously have used ENG/EFP cameras.

Sony F55 Doc Setup. Sony has now addressed most markets with the F5/F55 and now has a product for documentary shooters who previously have used ENG/EFP cameras.

W6A2977-Forman W6A3158-Forman


Cineflex 5 4K+ with Red or other 4K cameras.


Solid Camera Products (Carlos Acosta), Sony E to PL and Various camera plates to adapt anything to anything including a mount for the Odyssey 7Q.


PL to E mount adaptors from Solid Camera, and HotRod Camera, MTF and Vocas.


Angenieux 16-40mm Optimo Style


Panasonic’s Mr. Miyagi introduces new 4K camera, 35mm sensor, PL mount


Panasonic 4K GH4 MFT.


Andra Motion Focus uses a sensor on the talent and a transmitter box.

W6A3538-Forman W6A3535-Forman


Anamorphic lenses from Scorpio – Service Vision


Oli Laperal’s NAB Report

By Oli Laperal Jr.


Opening “bell” at NAB 2014. Let the games begin.

The omnipresence of 4K and 8K systems over HD at NAB reminded me of the HD-over-SD transition a dozen years ago.  As in the past, there are no shortage of nay-sayers.  But the quantum leap of technology offering price points lower than previous systems, coupled with transparent ease of intuitive workflow, and Thunderbolt 2 up to 20 Gb/s via fiber optics, make the transition to UHD natural and obvious. This applies to cameras, switchers, routers, mini converters, connectors, processors, compression algorithms, and monitors. Welcome to more K.

NAB 2014 showed more than a dozen 4K/UHD cameras, some with price tags of under $5,000, a few under $2,000, whereas GoPro’s 4K Hero 3+ sells for under $400.  I would not be surprised to see 4K cameras included free in better smart phones in the coming years.  Many UHD cross-converters from respected manufacturers sell for a mere few hundred dollars.

Sprouting cottage industries are using carbon fiber, lithium polymer (LiPo) batteries and gyro gimbals.  It seems flying drones with gyro stabilized HD micro cameras, guided by multiple GPS units, were everywhere.   Substituting arm bars instead of an airframe resulted in 20+ vendors touting handheld gyro stabilized brushless gimbal camera frames. All sorts of sliders for smooth camera movement were plentiful.

Anamorphic lenses, which were once the exclusive domain of rental-only facilities for the exclusive use of top studio feature films, are now offered to everyone by Angenieux, ARRI/ZEISS, Cooke, Servicevision/Scorpio, Vantage/Hawk, and others.

DSC04830-laperal-fdtimes DSC04829-laperal-fdtimes

NHK’s 8K camera was an unbecoming behemoth weighing more than 200 pounds while tethered with 32 coax BNC cables only a few years ago.  Today, NHK’s 8K camera is only 2 pounds and fits in one’s palm. NHK’s timeline includes 8K test broadcasts in 2016, and full 8K operation by 2020, in time for the Tokyo Olympics.

Laser powered projectors offer much increased brightness. Ted Schilowitz presented the Barco–which reminds me of Cinerama of decades past.  Christie and NEC also showed laser powered large venue projectors, perhaps to the chagrin of cinema exhibitors who reminisce of xenon projectors past that lasted almost a lifetime, not outdated within a few short months.

H.265 HEVC for broadband offers 10 bit, 8K resolution, better color and sound, more than twice the delivery payload of H.264.

The Technical Summit on Cinema dealt with:

  1. Understanding the human vision system
  2. The new post process, from camera to consumer
  3. The future of Cinema.
  4. ACES (Academy Color Encoding System)
  5. The “perfect” 2D/3D screen
  6. 3D Light Field camera, etc.
  7. IMF. Interoperable mastering format
  8. Laser illuminated projectors.  Much brighter than xenons
  9. Distributive creativity
  10. High dynamic range.
  11. New technologies
  12. Second screen and the cinema.

Emmanuel Lubeski, ASC, AMC and other crew of “Gravity,” in person and via Skype conferencing, discussed the challenges of doing the multi-award winning film, and how he interacted with the Director and other keys.

Cinematographer-turned-Director Wally Pfister discussed the film “Transcendance” to a packed house.

Camera Dept


AJA Cion. 4K S35 APS-C sensor, global shutter, 12+ stops of dynamic range, PL lens mount, 3G and Thunderbolt connectors, Raw data.

ARRI Amira. A documentary style HD/2K camera intended for single shooter use, no Arriraw, capable of 200 FPS.

The Alexa XT has a new software update (SUP 9.1) to further enhance ARRI’s top camera with an Open Gate sensor mode (1.5:1 aspect ratio, 3.4K Arriraw resolution), ProRes 4444 up to 120 fps, DNxHD 444 up to 96 fps, ProRes Pre-recording and many more. Most TV series in the US as well as the winners for best cinematography and best VFX at the Oscars for the last three years were shot on the ARRI Alexa camera (Hugo, Life of Pi, Gravity).



Blackmagic Design. Ursa 4K camera with 10” monitor, S35 global shutter, Raw / ProRes data recording,  interchangeable lens mount.



Or choose BMD’s new Studio 4K camera. Micro four thirds lens mount, 10” VF, bi-directional optical fiber.

Canon updates software for the C100, C300 and C500 4K cameras.  Canon announced the manufacture and delivery of their 100,000,000th EF lens.

For-A 4K Super Slo-Mo camera does 4K up to 900 FPS.  11 stops of dynamic range, Raw.

JVC. GY-HM890  HD camcorders, streams via Wi-Fi or a LTE modem. 4 styles of 4K cameras and prototypes: wifi, HD, DSLR and handheld.

Panasonic. 4K Varicam 35, S35 sensor, PL lens mount, 14 stop dynamic range, 240 FPS in HD.

Lumix DMC-GH4 DSLR. 4K camera with 4K recorder, micro four thirds 16 MP MOS sensor,

RED Digital showed various camera upgrades paths, up to the Dragon 6K sensor.  RED also showed how 6K Raw Dragon images from their mini stage fashion show printed nicely onto extra large posters.  The RED theater showed interesting 6K Raw footage with HDR.

Sony: Upgrades the F-65, F55 and F5 cameras. Shoulder mount/ENG cradle for F5/55. A7s DSLR.  Palm size, full frame sensor, 4K video, 120 FPS, ISO 409,600, OLED VF, etc.


Angenieux: New Optimo zoom lenses: DP 25-250 mm  T3.5,

Optimo Style 16-40 T2.8, and the Optimo Style 30-76 T2.8

Arri UWZ 9.5-18 mm T2.9 rectilinear wide angle zoom

Canon Cinema EOS prime lenses

Leica Summilux-C T1.4 and Summicron-C T2.0 primes.

Schneider Cine-Xenar III prime lenses.

Sigma. 35, 50, and 85 mm F1.4 prime. 18-35 mm F1.8 zoom lens.

Tokina 11-16 mm T3, 16-28 mm T3 wide angle zoom lenses.

Zeiss CZ.2 15-30 mm T2.9 full frame zoom lens.


Aadlyn. Stronger LED cluster spotlights.

K5600. 9K Alpha flat HMI.

Litepanels. Inca tungsten LED     Sola daylight LED.

Nila: Zaila, Varsa, Boxer and SL LED cluster lights.


AJA. 4K and HD I/O via Thunderbolt 2.0. Capture and playback.

Assimilate Scratch Ver 8: Dailies system for versioning, coloring, conforming and finishing.


BlackMagic Design, whose booth was always packed: Cintel film scanner, full features with Da Vinci Resolve. <$30K. UltraStudio 4K capture and playback via Thunderbolt 2 6G-SDI.

Cinema 4D. updated 3D modeling, animation, 3D motion design, visual effects software.

Monitors / on-board recorders

Atomos. Shogun 7” 4K recorder and playback.

Codex onboard for Panasonic 4K Varicam

Convergent Design Odyssey 7Q. Records and playback 4K Raw.

Transvideo Starlite 5″ ultra-slim OLED touch-screen monitor


Anton Bauer and Sachtler introduced new Lithium-Ion batteries

and intelligent fast chargers..

BMD Atem 4K switchers.

Corning offers fiber optic connectivity at 20 Gbps, USB 3.0  at 5 Gbps. Denz and Wooden Camera showed PL lens mount modification for the new BMD 4K camera.


I stayed a few days after NAB 2014 to play tourist and see Las Vegas’ latest attraction: High Roller, the world’s highest ferris wheel observation deck.


DSC04987 High Roller Ride, 40 pax per Gondola

Oli Laperal Jr runs RSVP Film Studios ( in the Philippines, with film production and rental associates in various Southeast Asian countries.   Oli can be reached at: olilaperaljr (at)



Best Unexpected Product of NAB


Sometimes the most unexpected thing pops up at NAB, and success surprises even its own manufacturer. True Lens Services rolled out a newly re-housed Cooke Series 1 to go with their updated cam-focus PL mount rehoused Panchro series 2 and 3 lenses.

But the buzz was also all about their new PL rear lens caps in clear polycarbonate and an O-ring to keep it on. How many times do our regular PL caps fall off in the case or in our hands? These things grip nicely, don’t come off, and have a wide bottom so you can usually rest the lens standing up on a table or camera cart. They come in all kinds of colors — but clear is cool because you can see what’s inside.

Rental houses were buying these TLS PL rear caps by the bucket, presumably with custom logos.

FDTimes doesn’t really bestow plaques, statues or NAB top something awards…but a little, clear cap  got our attention.


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Angenieux Style


Angenieux’s stylish annual NAB party for distributors, customers, and rental houses took place Tuesday night at Tryst. The usual notable suspects were twirling on the dance floor,   enjoying the ambiance and fine dining, and watching Yoginis floating by in bubbles: Denny Clairmont, Otto Nemenz, Tng Sieu Moi, Robert Keslow, and many more. Pierre Andurand, President of Thales Angenieux, gave a welcoming speech. He said that Angenieux is developing new products and  achieving its goal of delivering products on time.

The distributor award of the year was presented to Jebsen Managing Director Maximilian von Stillfried.

Dominique Rouchon, International Sales Director, said that customers were the source of inspiration in developing successful Angenieux products. “Competition is getting stronger, but that is not a worry because competition is healthy and Angenieux has a talisman.” (THALESMAN!). “The Angenieux talisman is the customer–the cinematographer. Angenieux is a brand with a lot of affection,” It is a very unique brand–with a lot of style, and a new line of lenses, named “Angenieux Style.”



Panavision Primo 70


Panavision officially announced their long-awaited Primo 70 series lenses — for 35mm digital motion picture cameras.  Presented in proof of concept Powerpoint in a SMPTE paper last year for a 70mm camera, these lenses are now offered for specially Panavised 35mm motion picture cameras with new Panavision 70 mount: ARRI Alexa, RED Dragon, Sony F55, Phantom 65. 

I have seen some of these lenses projected. They are superb. The flange focal depth is shorter than PL, which enables the design to be around the same size and weight as current 35mm Panavision Primos.

So this is an interesting wrinkle in lens design: never mind fighting for a few extra millimeters of 35mm format image circle–just go to the next big major motion picture format–70mm–and let the sensors grow in size.

Some specs from Panavision:


4P27 4P35 4P40 4P50 4P65
FOCAL LENGTH 27 35 40 50 65
T-STOP 2.0 2.0 2.0 2.0 2.0
CLOSE FOCUS (in) 14 14 14 16 20
CLOSE FOCUS (mm) 356 356 356 406 508
FRONT DIAMETER (in) 4.44 4.44 4.44 4.44 4.44
FRONT DIAMETER (mm) 112.8 112.8 112.8 112.8 112.8
4P80 4P100 4P125 4P150 4P200
FOCAL LENGTH 80 100 125 150 200
T-STOP 2.0 2.0 2.0 2.0 2.8
CLOSE FOCUS (in) 24 30 36 48 48
CLOSE FOCUS (mm) 610 762 914 1219 1219
FRONT DIAMETER (in) 4.44 4.44 4.44 4.44 4.44
FRONT DIAMETER (mm) 112.8 112.8 112.8 112.8 112.8
4P250 4PZM 4PZT
FOCAL LENGTH 250 70-185 200-400
T-STOP 2.8 3.5 4.5
CLOSE FOCUS (in) 48 60 78
CLOSE FOCUS (mm) 1219 1524 1981
FRONT DIAMETER (in) 4.44 4.44 4.98
FRONT DIAMETER (mm) 112.8 112.8 126.5





RED Runway

DSC02771-RED-fdtimes DSC02614-RED-fdtimes

RED once again wowed with creative, imaginative NAB booth presentation — a full-on fashion runway show with models…photographed of course RED 19 megapixel cameras with cool portrait-landscape mode tripod cradle.

New NAB stuff

Lots of new NAB gear that didn’t make it into FDTimes April Edition:

  • AJA announces 4K 35mm camera(s).
  • Blackmagic announces 4K 35mm camera(s).
  • Blackmagic announces Cintel 4K film scanner.
  • Panasonic announces 4K 35mm with Codex RAW back.
  • ARRI Studio mattebox has a very cool tilt feature to get rid of annoying reflections bouncing off filters.
  • Prototype RED remote 2-axis remote
  • Angenieux showing new Style 25-250 with /i lens data displayed on Transvideo monitor: real-time depth of field read-out

lots more…



Sony F55 ENG & Doc Dock


Photo: Mark Forman


Sony introduced a totally new F5/F55 shoulder dock. From the people who brought you many shoulder-resting ENG camcorders—this kit provides familiar camcorder functions to the F5/F55. Basically, it’s a base and rear that attaches to the bottom of the camera. It gets power and signals through the rear multi-pin connector where the AXS-R5 Recorder previously plugged in. The top handle gets a redesign. The words “modular, unibody, and convertible” come to mind. A dock for documentaries and ENG: ENG & DOC DOCK.

All conventional operations of Sony Camcorder

  • Wireless Audio is supported
  • Only 5 minutes to attach
  • New Handle with Mic holder
  • Wireless Audio (Analog or Digital)
  • Audio Control Panel
  • Sliding shoulder pad – Amira-like
  • Gain/BARS/White Three Assignable Buttons in front, Audio Monitor Select

The doc dock kit has front controls for:

  • Rec Start/Stop, Mic Volume, Shutter, Auto WB
  • Gain H/M/L, White Balance A,B, Preset, Assignable  buttons, Monitor Select switch
  • Audio control
  • Connections at the rear provide:
  • XLR 5pin Audio OUT
  • XLR 3pin Audio IN x2 (AES/EBU, Line, Mic, +48V)
  • Headphone jack
  • Hirose DC 12V OUT
  • XLR 4pin DC IN
  • Connections in front
  • XLR 5pin Audio IN
  • Headphone jack

Accessory connectors:

  • Hirose DC 12V OUT
  • D-TAP DC 12V OUT

Wireless audio receivers will be accommodated onboard. NAB Booth C11001

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Sony α7s 4K Camera


My favorite part of Sony’s annual NAB press conference is the new product  unveiling. This year, it was Mr. Shigeki Ishizuka, Sony Deputy President of Imaging Products (he’s in charge of still and motion picture cameras) who announced the new Sony α7s camera. Saying that the two worlds of consumer and professional imaging are merging, he introduced this third member of the Alpha 7 line (joining the α7 and α7r). Like its siblings, the α7s is a mirrorless camera with a 24x36mm CMOS sensor and E-mount (18mm flange focal depth.)

But there are big differences. This camera’s 12.2 megapixel sensor has a sensitivity up to an astonishing ISO 409,600.

It shoots stills and UHD4K video: 3840 x 2160–to be recorded to an external device.

Steadicam Tango, Movi, stabilizer and other camera operators were imagining the possibilities when this camera is released this summer.





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FDTimes NAB Booth C10006



Setting up at NAB 2014. You’ll find us when the show opens on Monday under the Film and Digital Times Airstar balloon in Booth C10006 — next to Sony, across Band Pro and Pole Cam.

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ARRI Ultra Wide Zoom 9.5-18 mm



More details on ARRI’s UWZ 9.5-18 mm T2.9 Ultra Wide Zoom. But first some thoughts on where it might be used, and on what kind of scenes: underwater, aerials, POVs from trains, planes, automobiles. The 8R is a wonderful lens, but sometimes we have the irresistible urge to zoom in slightly or change focal length during the shot–especially when the lens is mounted in a rig or remote. VFX and plate shots. A low angle gliding shot looking forward if anyone is thinking of a sequel, “Son of The Shining.” “Here’s UWZ!”

  • Image circle of 34.5 mm
  • Very low image distortion even at 9.5mm
  • Distortion less than 1% at 9.5 mm and less than 0.1% at 18 mm (straight lines stay straight) Due to a new multi
  • Telecentric optical design – uniform field illumination, no shading or vignetting
  • Almost no image breathing
  • Entrance pupil position stays constant over the entire zoom range
  • LDS for lens metadata
  • Matches other ARRI/Fujinon or ARRI/ZEISS Lenses
  • Available in ARRI PL LDS or Canon EF mount
  • Lens Mount                                                               PL-LDS or Canon EF
  • Aperture
  • Focal length                                                              9.5-18mm
  • Close Focus                                                               0.55m/1.8ft from image sensor
  • Mechanical length                                                   352.6mm/13.9in
  • Front Diameter                                                        156mm or 134mm
  • Max. diameter excluding front and gear:             112mm
  • Weight                                                                       4.8kg/10.6lb

The UWZ 9.5-18/T2.9 will be delivered with a detachable lens support, zoom lever and interchangeable EF mount. Meter and Feet scales are integrated in the lens barrel.

Expected to ship in May 2014. Price around 38,000 Euros.






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Angénieux Style & Servos


Angénieux Style Zoom Lenses

Angénieux introduces a new line of lenses and the Angénieux Servo Unit (ASU) at NAB. The new Optimo Style series will consist of 3 zooms: 2 handheld, 1 full size.

The 16-40 and 30-76 are lightweight at 4.2 lb each and well-balanced for shoulder or handheld shooting.

The 25-250 is an all-purpose, classic-range zoom for most production situations. It is a 10x zoom with a wide angle of 25 mm, and weighs 16 lb. It was presented at IBC 2013 with a temporarily name “25-250 Optimo DP.”

The Style series of zooms are designed to be fully compatible with the latest and next generation of digital cameras, as well as spinning-mirror cameras, providing the  look of the Optimo line at an affordable price. In other words, there is no protruding rear element as there was on the Optimo DP zooms.

The Optimo DP line (30-80 and 16-42) introduced in 2008 and 2009 is being discontinued, except as 3D kits.

Of course, the Optimo Cine lenses (15-40, 28-76, 45-120, 19.5-94, 28-340 and 24-290) continue to be manufactured.

Optimo Style zooms are compatible with existing Optimo accessories: 1.4x and 2x extender, DSLR mount, and Wide Angle Attachment 0.75x (for Optimo Style 16-40 only). Easily interchangeable mounts will be available for PL, Canon EF, Panavision cameras.

Optimo Style lightweight zooms 16-40 and 30-76 will be offered with or without the optional ASU Angenieux Servo Unit.

An Angénieux executive said, “The new Optimo Style lenses inherit the virtues of our Optimo Cine lenses. The rise of multimedia viewing and trend to Ultra definition television is escalating the demand for high quality motion picture content. More productions are  demanding a cinematic look with 4K quality and equipment that’s adaptable to a large variety of cameras, configurations and budgets.”

ASU Angénieux Servo Unit

Angénieux 16-40 and 30-76 Optimo Style lightweight zooms will be offered with or without the optional ASU—which provides control of zoom, focus and iris.

  • The ASU works with broadcast remote handles, cinema remote controls, and existing wireless remotes like Preston or others (on request).
  • It generates lens metadata based on the  Cooke /i technology protocol.
  • The ASU is not a rocker-zoom control handgrip. It weighs 1.5 lb / 0.7 kg.
  • The ASU and lenses are matched and calibrated at the Angénieux factory.
  • The ASU will also be available as an option for the Optimo Lightweight Cine Zooms: Optimo 15-40, Optimo 28-76, and Optimo 45-120.

The Optimo Style line will be available around Summer 2014. As announced at NAB 2013, the first Angénieux 56-152 2S anamorphic zooms have been delivered in United States, Asia and Europe.



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Anamorphic Screenings at NAB


Servicevision will screen their Scorpiolens 2x Anamorphic short “Walk in Barcelona” at NAB on Wed. April 9 from 10am – 6pm in room S107, every 2 hours.

Their 35, 40, 50, 75, and 100 mm Scorpiolens 2x anamorphics will be on display in their booth, C10542.

Cooke Optics

Cooke Optics will show 4 shorts shot with their anamorphic lenses in Paris, London, New York and Toronto on a monitor in their booth C6143 during NAB. Now also on Vimeo. Their 32, 40, 50, 75, and 100 mm 2x anamorphics will be shown.


ARRI/ZEISS Master Anamorphic 35, 40, 50, 60, 75, 100 (shipping), and 135 mm (ships in July) 2x lenses will be shown at ZEISS C9042 and ARRI C4337. ARRI will probably show footage.


The Angenieux Optimo 2x Anamorphic 56-152 mm T4 zoom has begun to ship.
Footage will probably be shown in the Angenieux Booth C 7419.

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Canon 17-120 T2.9-3.9 w/ Servo Grip


This is Canon’s first 35mm zoom lens with servo handgrip for documentary, handheld or ENG.

Canon’s 17-120 mm T2.9-3.9 zoom seems impossibly small for a lens that can deliver superb image quality with so much range.

The servo focus/iris/zoom handgrip detaches with 3 screws. When re-installed, there’s no need for manual re-alignment.

I tried out a prototype 17-120 at AbelCine just as we were going to press, and took these photos with the help of Jeff Lee, AbelCine, and Ryan Kamata, Canon.

The lens motors inside the handgrip are quiet and extremely quick. The focus barrel can whip from M.O.D. (Minimum Object Distance) to infinity in 1.6 seconds. The rocker switch in the handgrip is comfortable, sensitive, and offers smoothly feathered starts and stops. You can zap zoom in a blazingly quick .5 seconds, or dial it down to 300 seconds for that slow zoom in title sequence landscape shot.

Lens communicates with camera a number of ways. There’s a familiar broadcast lens style 12-pin serial connector. Cooke /i Technology metadata is supported when using /i equipped PL mount lenses. An added benefit of Cooke /i on PL lenses is that its contacts can also power the focus, iris and zoom motors. Canon Cinema EOS lens data is also enabled, providing power, lens information as well as image compensation of shading and geometry when using  Canon EF mount lenses.

One of the most thoughtful touches is how the focus marks are engraved on the slanted part of the lens focus barrel, so you can see the distance with your left eye while shooting.

Canon EF Mount Model: CN7x17 KAS S/E1
PL Mount Model: CN7x17 KAS S/P1

  • Focal Length: 17-120 mm
  • Zoom Ratio: 7x
  • Maximum Aperture: T2.95 at 17-91 mm
  • ramp to T3.9 91-120 mm
  • Iris  Blades: 11
  • M.O.D: 0.85 m / 2.8’
  • Macro Function: Push button control
  • Front Diameter: 114 mm
  • Approx. Weight: 2.9 kg / 6.4 lb
  • Approx Width: 174.2 mm
  • Approx Height: 125 mm
  • Approx Length (EF): 262.9mm
  • Approx Length (PL): 254.9 mm
  • Focus Gear Pitch (forward / rear): 0.8 mm / 0.5 mm
  • Zoom Gear Pitch: 0.5 mm
  • Iris Gear Pitch: 0.4 mm
  • Fastest Focus Barrel Travel end to end: 1.6 sec
  • Fastest Zoom Barrel Speed: .5 sec
  • Slowest Zoom Barrel Speed: 300 sec
  • Metadata /i Technology
  • Canon EOS Lens Data
  • Angle of View
  • Aspect ratio: 1.78:1
  • (Sensor Dimensions: 24.6 x 13.8 mm)
  • At 17 mm: 71.8°x 44.2°
  • At 120 mm: 11.7°x 6.6°
  • Aspect ratio 1.9:1
  • (Sensor Dimensions: 26.2 x 13.8 mm)
  • At 17 mm: 75.2°x 44.2°
  • At 120 mm: 12.5°x 6.6°
  • Object Dimensions at M.O.D.
  • Aspect ratio 1.78:1
  • (Sensor Dimensions: 24.6 x 13.8 mm)
  • At 17 mm:  86.3 x 48.4 cm
  • At 120 mm: 12.0 x 6.7 cm
  • Aspect ratio 1.9:1
  • (Sensor Dimensions: 26.2 x 13.8 mm)
  • At 17 mm: 92.1 x 48.5 cm
  • At 120 mm: 12.7 x 6.7 cm
  • (M.O.D. is Minimum Object Distance from Image Plane)


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32 New Hawk Anamorphics


Things have been too quiet at Vantage. With all the recent news of new anamorphic lenses from A through Z (Angenieux, Cooke, Scorpio, ZEISS/ARRI) – the company in Weiden building Hawk anamorphics for the past 20 years has been uncharacteristically silent.

Peter Martin and Wolfgang Baumler, above, were smiling in Paris at Micro Salon a couple of months ago, but not saying anything.

Now we know why. Credible sources have confirmed with FDTimes (and Vantage continued smiling) that a massive launch of 32 totally new models of Hawk anamorphic lenses, in two sets, will be announced sometime this year. These two new sets are expected to include front anamorphic zooms, macros, and teles – intended for major motion picture productions that need many choices of focal lengths, apertures, and sizes.  As with previous Hawks, the new sets are designed and built by the same team in Weiden, Germany, and will have similar 2x anamorphic characteristics. Most of the sets will be rented through Vantage Film and their partners.



Look: Cooke NYC Test

New York Test of Cooke Anamorphics now on Vimeo.

Presented by Handheld Films, Cooke Optics, Goldcrest Post Production

Director/Cameraman Jon Fauer, ASC
Line Producer Marc Paturet
First Camera Assistant Timothée Arene
Second Camera Assistant Shaun Malkovich
Gaffer Jackson Lorentz
Grip Joe Janasiewicz

Camera, Lighting and Studio Hand Held Films NYC
Captured with ARRI Alexa Studio
Data ARRIRAW on Codex Onboard
Lenses Cooke Anamorphic/i 32, 40, 50, 75 mm T2.3

Lead Yogini Alison Cramer
Yogini #2 Stéphanie Landouer
Yogini #3 Essence Wall

Finishing Goldcrest Post Production NYC
Supervisor Tim Spitzer
Editor Ricardo Madan
Colorist John Dowdell

Original Score
Music Toby Harting

Special Thanks
Nick Quested, Ellison Santos, Les Zellan, Matthew Jaker, Li Yan Ping Zhu



Fujinon Cabrio 25-300 T3.5


Lens announcements are heating up today.

Fujinon announcement for NAB: a new 25-300 mm joins the growing Cabrio series PL zoom lens family. Its range extends beyond the familiar 10:1 ratio — offering a 12:1 zoom in a comfortable size and weight. It is intended to be used as an all-around zoom lens for exteriors, locations, action, aerials, sports, cars, running shots, as well as interiors.

With a size and weight comparable to the Fujinon Premier 24-180, the new Fujinon Cabrio 25-300 provides a longer range of focal lengths. A detachable digital servo drive unit with Focus, Iris and Zoom motors will be an option mid-year. The lens has rear flange focal depth adjustment. Macro (close-up) capability is available standard on the lens.

All Cabrios can connect for power and data to contacts in the lens mount of many PL cameras. All Cabrio drive units connect with familiar industry FIZ wireless and wired lens control systems. Also plug and play to Fujinon Broadcast style accessories for single operator/ pedestal applications. Optional power and control cables are available. The servo handgrip detaches with 4 screws. When re-attaching, the drive is self-centering.

Official Fujinon Model ZK12x25

  • Focal Length: 25-300
  • Mount: 35mm PL Mount
  • Zoom Ratio: 12x
  • Aperture: T3.5 from 25-273 mm
  • T3.85 at 300 mm
  • Iris Blades: 9
  • Focus Rotation: 280°
  • Zoom Rotation: 120°
  • Front Diameter: 136 mm
  • Length: 401 mm / 15.78”
  • Weight: approx 8.9 kg / 19.62 lb
  • M.O.D. (from Image Plane): 1.2 m / 3’11”
  • also Macro Mode
  • Object Dimensions at M.O.D
  • 1.78 : 1 Aspect Ratio 25 mm    937 x 527 mm
  • 300 mm  77 x 43 mm
  • Angular Field of View
  • 1.78 : 1 Aspect Ratio 25 mm       57° 32’ x 34°19’
  • 300 mm 5°14’ x 2°57’

NAB Booth C7025


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